I can’t imagine any better way to celebrate St. Patrick’s Day here at Old Time Blues than with authentic traditional Irish songs, recorded in Britain, and pressed on a Regal by the Columbia Graphophone Company in the United Kingdom. These two classically Irish songs are sung by “William Thomas” which as I understand it was a pseudonym for the classical tenor Thomas Jackson.
Regal G 8161 was recorded in June of 1924 probably in London, by William Thomas, a pseudonym for tenor Thomas Jackson. I can’t find any information on the singer, but he appears to have been quite prolific in Great Britain in the 1910s and 1920s.
First, the classic ballad set by Frederic Weatherby to the tune of Londonderry Air, now an unofficial anthem of the Irish people, “Danny Boy”.
Danny Boy, recorded June 1924 by William Thomas.
Next, another Irish tune, Thomas Moore’s patriotic “The Minstrel Boy”, written in remembrance of some his friends lost in the Irish Rebellion of 1898.
The Minstrel Boy, recorded June 1924 by William Thomas.
I often notice that there’s no balance between the jazz and the and the blues (and country) that’s posted here, unfortunately the category for blues tunes on this site is terribly barren and bereft. What better way to remedy that than with the aid of the Empress of the Blues herself, Madam Bessie Smith. Here Bessie sings two fine songs on one of Columbia’s first issues in their series dedicated to “race records”, pressed with their beautiful “flags” label design.
Columbia 13001-D was recorded September 26 and October 10, 1923 in New York City and was the second issue in Columbia’s first Race series which ran only from 13000-D to 13007-D in 1923 and was soon abandoned in favor of their more successful 14000-D series. These sides are two of Bessie’s earlier sides, her twenty-fifth and thirtieth to be precise, and her first in Columbia’s specifically designated “race” series.
First, Bessie moans her way through Sid Laney’s “Cemetery Blues”, backed by Jimmy Jones on piano, and recorded on the September 26 date. This song was later adapted to the western swing style in 1928 by the Paradise Joy Boys of Dallas, Texas. Sid Laney was apparently a pseudonym used by prolific piano roll player J. Lawrence Cook. Does that mean this piece was written by Cook, or was there a real Laney?
Cemetery Blues, recorded September 26, 1923 by Bessie Smith.
On the flip, Bessie sings Lovie Austin’s “Any Woman’s Blues”, accompanied on piano by the great Fletcher Henderson, recorded on the October 10 date.
Any Woman’s Blues, recorded October 10, 1923 by Bessie Smith.
Today, January 17, we celebrate the 120th birthday of that great banjo luminary, Harry Reser. He was born on that day in 1896. Reser is known for his great multitude of recordings under an enormous number of names in the 1920s and 1930s, perhaps the most memorable of which were the Clicquot Club Eskimos, who took their name from the brand of ginger ale that sponsored a radio show featuring Reser’s band. Reser also recorded under many other band names, including the Clevelanders, the Six Jumping Jacks, and, as in this case, his Syncopators. Many of his groups featured vocals by Tom Stacks. Last time we heard from them was on Christmas Day.
Harry Reser was born in Piqua, Ohio, and was a first cousin of the Wright brothers. He was a child prodigy on string instruments and had perfect pitch. By the early 1920s, Reser was playing banjo professionally, and by the second half of that decade, he was headlining Clicquot Club’s radio program with his “Eskimos”, a position which he and his band held for over a decade, from 1923 until 1936. In 1936, he recorded a short film with the Eskimos for Vitaphone. Though Reser faded from the spotlight after the 1930s, he remained an active musician until his death in 1965 in the orchestra pit at the Imperial Theatre in Manhattan.
Columbia 1761-D was recorded March 7, 1929 in New York by Harry Reser’s Syncopators, with a vocal on both sides by Tom Stacks. Both sides also feature a riveting bass saxophone and all-around superb musicianship, making for an excellent pair of recordings. As far as I can tell from the nearly incomprehensible Dance Band Discography (this one really ought to have been in Jazz and Ragtime Records if you ask me), this personnel of Reser’s Syncopators includes Tommy Gott on trumpet, Sam Lewis on trombone, Larry Abbott on clarinet, alto sax, and baritone sax, Jimmy Johnston on bass sax, Bill Wirges on piano, Harry Reser on banjo and Tom Stacks on drums.
First, they play a great version of “Kansas City Kitty”, not to be confused with “Kitty from Kansas City”, as was featured by Rudy Vallée.
Kansas City Kitty, recorded March, 7, 1929 by Harry Reser’s Syncopators.
The reverse’s title is quite a mouthful, “I’m Wild About Horns on Automobiles that Go ‘Ta-Ta-Ta-Ta'”, but this side remains one of my favorites.
I’m Wild About Horns on Automobiles that Go Ta-Ta-Ta-Ta, recorded March 7, 1929 by Harry Reser’s Syncopators.
Happy New Year 2016 from Old Time Blues! January 1st also marks the 132nd anniversary of New Orleans cornet great Oscar “Papa” Celestin, so here’s some fine jazz by his Original Tuxedo Jazz Orchestra, I believe from his first electric recording session, though he did make some acoustic recordings prior to this one.
Columbia 636-D was recorded April 13, 1926 on location in New Orleans, Louisiana. The band includes Oscar “Papa” Celestin on cornet, August Rousseau on trombone, Paul “Polo” Barnes on clarinet and alto sax, Earl Pierson on tenor sax, Jeanette Salvant on piano, John Marrero on banjo, and Abby Foster on drums. Charles Gills sings the vocal on “My Josephine”.
Charles Gills sings the vocal refrain on “My Josephine”, a composition by reedman Paul Barnes.
My Josephine, recorded April 13, 1926 by Celestin’s Original Tuxedo Jazz Orchestra.
“Station Calls” is a hot instrumental number composed by banjoist John Marrero; New Orleans jazz through and through.
Station Calls, recorded April 13, 1926 by Celestin’s Original Tuxedo Jazz Orchestra.
When we last heard from Harry, he was singing “Puttin’ on the Ritz“, and I promised to post his radio theme, I Love a Parade”. Thanksgiving Day being the occasion for one of the grandest parades of the year, it seems like a fitting choice.
Columbia 2701-D was recorded August 15, 1932 in New York City by Harry Richman and issued with their short-lived “Radio Record” label, which seemed to have often featured more than just straight song singing, in a more “radio-like” performance (some of Rudy Vallée’s have announcements at the beginning, and you’ll hear what this one’s like).
First, Richman delivers an (a bit more than) exuberant rendition of what was later the theme song of his radio show in the 1930s, Ted Koehler and Harold Arlen’s “I Love a Parade”.
I Love a Parade, recorded August 15, 1932 by Harry Richman.
Next, Richman sings the popular Arthur Freed and Harry Barris (whose birthday was just a few days before this posting) composition “It Was So Beautiful”.
It Was So Beautiful, recorded August 15, 1932 by Harry Richman.
